Madeline Beattie

What do the Detroit Lions and girls in school sports have in common? Constantly underestimated, but still rising to the top. Prior to the 2023 season, the Detroit Lions were constantly dragged for their performance. Today, the Lions lead their league by a significant margin. When looking for an audience for a hypothetical social media campaign sponsored by the Lions, a group with similar experiences simply made sense. 34.5% of girls aged 6-17 participate in sports, a number lesser than their male counterparts. Young women experience significant barriers to joining and playing sports, one barrier being social stigma. Girls are constantly compared to boys in sports: “weaker,” “slower,” “less entertaining.” Our campaign, That’s On Winning, empowers girls in sports aged 12-16 to tackle stereotypes and rise above the rest, all in the name of the Detroit Lions. My teammates, Kate Dembowski, Natalie Orlando, and Lauren Moore were given the word “perspiration” as a direction for a Detroit Lions-backed campaign. As such, we thought about creating an identity that was gritty, tough, and authentic. After a thorough research process regarding the Lions’ history, we decided upon an audience for our campaign: young girls beginning their sports journey. Both the Lions and young girls have and continue to face doubt from those around them, which has impacted the success of both groups. However, when given the opportunity to shine, both kick major butt. We were determined to create campaign that was targeted at girls, but didn’t’ feel patronizing, i.e. too frilly or too girly. As a result, our identity aims to appeal to young women of all backgrounds and experiences. That’s On Winning’s language is composed of empowering phrases combined with common middle school and high school slang. The name, That’s On Winning, is a reference to younger girls using the phrase “that’s on ____” or “that’s on period,” which indicates that a true statement has been shared and that there’s nothing left up for discussion. Our imagery depicts girls at the top of their game, without any glamorization or beauty filters. Grain applied to images echoes the sweat and grit of the game. Colors are bright and vibrant, emblematic of a playful yet powerful campaign. Inclusion of an amped-up version of Honolulu Blue, the iconic Detroit Lions color, ties the identity back to its sponsor. Motion is constructed to be dynamic and energetic with its sweeping text and graphics. Voice acted by an individual from our target demographic, our advertisements are genuine in their pursuits.

Michigan is home to a bounty of edible wonders. The cherry is Michigan’s state fruit, berries form the namesake of numerous fairs, and no fall could be complete without a trip to the apple orchard. All of these prized foods have one thing in common: they’re all considered fruits. Where is the love for native vegetables and herbs of Michigan? Sprouting Season is a celebration of local greens that are often overlooked. I was tasked with creating a collection of two pieces, one print-based and one not, that is Michigan-centric. When I think of Michigan’s essence, I think of my summers spent up north. Wedged in the woods off the coast of Lake Superior, our family cottage is situated amongst stunning flora and fauna. The bright red thimbleberries that dot the forest paths are always a treat, but it had me wondering: what else is edible in these woods? To begin, I scoured the Internet for information regarding edible plants in Michigan. Can a dandelion be eaten raw? When is the best time to harvest and eat cattail shoots? What can you pair fiddlehead ferns with for the best dining experience? These were all important questions I needed to find answers to. After compiling names, scientific names, usages, and pairings for a list of plants, I began to sketch potential concepts. I presented three ideas to my classmates for feedback, and, after taking their thoughts into consideration, decided upon a calendar for my print object and a tea towel for my functional object. Plants are seasonal, and a calendar can emphasize the harvest times of each plant. A tea towel can be used to line a foraging basket, wrap up vegetables for transport, or wipe up kitchen spills when cooking one’s greens. Visual style was influenced by my original inspiration: my summers up north. The copper mining town my family hails from is a majority Finnish, and is known for their strong ties to their culture. Finnish slogans dot bumper stickers, flags fly above cottages, and design objects and literature litter gift store shelves. Scandinavian design is often minimalist and simple, yet playful. It made sense to illustrate the plants in this way: simple and easy to consume, as well as paying a nod to the culture that made me so interested in nature. The 13-page calendar was risograph printed for the utmost vibrancy and liveliness. The gold title and backing stamp are letterpressed to provide an intriguing metallic contrast to the risographed inks and a match to its gold binding clips. The utilization of binder clips instead of a traditional binding method allows the user to display their calendar pages separately or all in a stack. The final tea towel is 18x24, an apt size to cover a basket or wrap around veggies. In order to sublimate the design onto the fabric, the material needed to be partially polyester. A linen-look poly-rayon blend was chosen due to rayon’s high absorbency, which is much needed for a tea towel. Towels are finished with a rolled hem to minimize fraying and increase product integrity.

Language is not a constant. Languages transform, merge with their neighbors, and even die. The most commonly spoken languages range from a few thousand years old to a few hundred years old. What would happen if the ability to speak our native tongue was suddenly stripped away from us? What if our language died? In the year 2073, the United States is the victim of a wide-scale nuclear bombing campaign. In order to survive amongst the radioactive wasteland, survivors must wear clunky protective suits. Thick masks make it difficult to discern what another person is saying. The electromagnetic pulse from the bombs disrupted technology, and the remaining radiation makes radio communication unusable. Citizens can no longer use technology to communicate, nor spoken word. A fully-written, glyph-based language becomes commonplace as a way to address these barriers. At least, that’s what happens in the dystopia Rachel Wixson, Nina Bommarito and I speculate. When one thinks of dystopian futures, they might envision a surveillance state, or maybe artificial intelligence gone rogue. However, our group pondered the idea a future without any technology, a complete and abrupt return to sticks and rocks. Nuclear warfare seemed to be the most plausible culprit of this return. Research into the effects of nuclear radiation on the environment, body, and society was conducted, and we began to construct our story. What will language look like 100 years in the future, we were asked. Glyphs address the needs of the scavengers residing in the Metro Detroit’s techless wasteland, now known solely as Metro. Glyphs are based on common visual representations of objects, such as the sun being a circle or a person being a head and legs. The language itself contains no root from the United States’ most used language, English, as the US is projected to become increasingly multilingual as the years go on. Symbols are quick and easy to write within a dangerous environment, and the thick stroke weight of each glyph accounts for big, gloved fingers. It was important to create a system had distinct linguistic rules. These symbols can function alone, or can be merged together to form more complex “words.” Glyphs can be placed next to each other to create sentences. Sentences are simple and no-nonsense. Depending on symbol placement, a phrase can be made in past, present, or future tense utilizing an “anchoring” system. When sentences come together, paragraphs are read up to down, rather than left to right or right to left, accompanying a variety of native reading paths. Tone tags, inspired by human expressions, are placed underneath the anchor to modify sentences to express emotions that are obscured by masks.

The United States is amidst a gun violence epidemic. In 2021, 48,830 Americans died from gun-related injuries, according to the CDC. Active shooter incidents, defined by the FBI in which “one or more individuals engaged in… attempting to kill people in a populated area,” have increased in frequency more than 20 times from 2001. Americans deserve to live without fear of becoming a victim of gun violence, an increasingly common reality. However, there has been resistance regarding laws passed to limit gun access. Conservative gun owners believe that gun control violates their freedoms as American citizens. Guns are deeply entwined with American identity, and a total gun ban is unlikely. Proper gun safety is needed in the interim, but also needs a rebrand to make it appealing to this audience. Protecting yourself, your family, and your fellow American by being responsible with your weapons is the ultimate form of patriotism. Jenna Vineyard and I were tasked with rebranding an American idea in the form of a brand identity package. Something both of us are passionate about is the need for gun control. However, we have found it hard to convince our conservative family members about the need for it. We decided gun control needed a rebrand in order to literally secure our safety. Secure Our Safety is built on subversion. Utilizing classic all-American colors, imagery, and language, it easily slips into conservative spaces. Red, white, and blue invoke a sense of patriotism. Photos that emphasize American values, including family, self-protection, and safety take center stage in our campaign. Slogans are derived directly from pro-gun organizations, but are twisted to take on a message that supports the need for gun safety instead. Secure Our Safety also emphasizes safety and security. The shape of the home acts as the basis for our icon system, as the home is typically a beacon of security. Stripes echo the visuals of a fence, cage, or jail cell, implying that danger is contained.

The Copper Country Strawberry Festival is a yearly festival dedicated to celebrating strawberry crops and growers in Chassell, Michigan. Chassell, a town situated near Michigan’s formerly booming copper mining industry, has hosted the festival for 76 years of its 161 year history. As such, the town has a rich history from its various industrious influences. The festival is so much more than just a celebration of strawberries. An idea of “beyond the berry” was crucial in designing a set of posters that encapsulate all events that comprise the festival. The three posters represent three core intrigues of the festival: what to do, what to see, and what to eat. Research was conducted to further understand the history behind the festival and compiled together using a digital pin board. Photos inspired by the event were collaged to construct 25 quick mini-posters and sketches to inspire our digital posters. I narrowed it down to 3 directions, each honoring something different: the history, the berry itself, and the variety within the event. I decided that focusing solely on one of these themes would be a disservice, so I drew inspiration from each to create a final concept. The final posters aim to reflect all that the event is: hand-made, historic, and all-encompassing. Hand-drawn pen illustrations become symbolic of events that occur and change between posters. Strawberry imagery serves as through-line between each cluster of objects. The monospaced font nods to the past while also looking towards the future of the festival. The color choices are emblematic strawberries while providing a fresh and youthful feeling. The result is a set that isn’t only cohesive, but that accurately expresses the festival’s purpose.

Cipe’s Skirt presents a comprehensive biography of the first female art director, Cipe Pineles, in a format as unique as her story. Cipe Pineles (1908-1991), known at the time by her peers as “the little Polish girl who won our hearts,” proved that the covers of fashion magazines could be art in themselves. She utilized beautiful yet un-sexualized photography, hand-drawn illustrations, and playful typography to create a product that not only enticed women, but empowered them as well. Since Pineles chose to go beyond the previously established norms for what magazine design could be, I thought it fitting to present her story beyond the typical book or poster set. I decided on a fashion piece, as her lifeblood was fashion magazine design. Pineles chose her battles, as it was hard enough to be a women in the field of design. I chose a pleated skirt, which has to ability to obscure a secret history, one that built her character and influenced her work. One may only discover the full story by looking beyond face value, the front panels of the skirt. Much of the design process focused on creating a strong visual hierarchy that accurately expresses Cipe’s story. A stunning red serif stands tall and asserts itself as an artistic powerhouse without sacrificing class and femininity. Black and white photography contrasted with vector solids create a sense of nostalgia, like an old scrapbook plastered together. Hand embroidered flowers and linework imply a creation of one’s own story. Over 50 hours were spent physically constructing the skirt. Fabric was heat-pressed, pinned, machine and hand sewn, and embroidered. The final product consists of 70 inches of cream poly-satin panels decorated with sublimated content, red handstitched read paths, and cream zigzag stitching to prevent fraying. All elements come together to create a story of passion, power, and secrecy: something entirely Cipe.